Glee Quotes
In my real life, both my bosses are gay. On the 'Real Housewives of Atlanta,' Andy Cohen is gay, everybody at Bravo is gay - we call them the gay mafia. Over at 'Glee' and 'The New Normal,' my boss Ryan Murphy is gay. On the show, my boss, played by Andrew Reynolds, is gay in real life. I'm surrounded by all my gay bosses.
NeNe Leakes
The expression of satisfaction at the acts of torture one is inflicting on helpless, trussed, naked victims is only part of the story. There is the primal satisfaction of being photographed, to which one is more inclined to respond not with a stiff, direct gaze (as in former times) but with glee. The events are in part designed to be photographed. The grin is a grin for the camera. There would be something missing if, after stacking the naked men, you couldn't take a picture of them.
Susan Sontag
Nudes -- stark and glistening,
Yelling in lurid glee. Grinning faces
And raging limbs
Whirl over the floor one fire.
For a shirt verminously busy
Yon soldier tore from his throat, with oaths
Godhead might shrink at, but not the lice.
And soon the shirt was aflare
Over the candle he'd lit while we lay.Then we all sprang up and stript
To hunt the verminous brood.
Soon like a demons' pantomine
The place was raging.
See the silhouettes agape,
See the glibbering shadows
Mixed with the battled arms on the wall.
See gargantuan hooked fingers
Pluck in supreme flesh
To smutch supreme littleness.
See the merry limbs in hot Highland fling
Because some wizard vermin
Charmed from the quiet this revel
When our ears were half lulled
By the dark music
Blown from Sleep's trumpet.
Isaac Rosenberg
The public wants miracles. The public demands miracles; and if one source ceases to provide them, they will turn to another source which seems to accomplish the spectacular. Even while they resented and opposed the scientific attitude, they lapped up the miracles which this attitude accomplished with glee.
Mark Clifton
Nasreddin Khodja commanded his disciples, when he sneezed, to salute him by clapping their hands and crying out: "Haïr Ollah, Khodja," that is "Prosperity to thee, O Master!" Now it came to pass that on one of the days the bucket fell into the well [...] he descended, caught the bucket, and the boys were already pulling him up, when, just as he was drawing near the edge of the well, he chanced to sneeze. Whereupon they, mindful of the master's behest, let go the rope and, clapping their hands in high glee, cried out in chorus: "Haïr Ollah, Khodja," Nasreddin was precipitated violently into the well, bruising himself against the sides. [...] "Well, boys, it was not your fault, but mine: too much honour is no good thing for man."
Nasreddin
Do you consider, my dear maggotty sir [cosy-name for his friend], what a deal of work history pictures require to what little dirty subjects of coal horses and jackasses and such figures as I fill up with; no, you don't consider anything about that part of the story... But to be serious (as I know you love to be), do you really think that a regular composition in the Landskip [landscape] way should ever be filled with History, or any figures but such as fill a place (I won't say stop a gap) or create a little business for the eye to be drawn from the trees in order to return to them with more glee.
Thomas Gainsborough
But, gathering in its ancient market-place,
Talked group with restless group; and not a face
But wrath made livid, for among them were
Death's staunch purveyors, such as have in care
To feast him. Fear had long since taken root
In every breast, and now these crushed its fruit,
The ripe hate, like a wine: to note the way
It worked while each grew drunk! men grave and grey
Stood, with shut eyelids, rocking to and fro.
Letting the silent luxury trickle slow
About the hollows where a heart should be;
But the young gulped with a delirious glee
Some foretaste of their first debauch in blood
At the fierce news.
Robert Browning
No human eye can isolate the unhappy coincidence of line and place which suggests evil in the face of a house, and yet somehow a maniac juxtaposition, a badly turned angle, some chance meeting of roof and sky, turned Hill House into a place of despair, more frightening because the face of Hill House seemed awake, with a watchfulness from the blank windows and a touch of glee in the eyebrow of a cornice.
Shirley Jackson